Heartfelt, thoughtful, and truly affecting, Harold Fry takes you on a pilgrimage to show the importance of human connection.
Adapted from Rachel Joyce’s bestselling novel, and following a hugely successful run at Chichester Festival Theatre, The Unlikely Pilgrimage of Harold Fry has now opened in the West End for a limited run.
If you’re new to the story, Harold Fry is an ordinary man who receives an unexpected letter from an old friend – he sets out to post his reply, and just keeps walking. Before he has time to process what’s happening, his quick trip to the post box turns into a pilgrimage across England, meeting people from all walks of life that force him to reconsider his outlook and confront his own emotions. What follows is a touching story about grief, love, regret, and the unexpected power of human connection.
Mark Addy is exactly as good as you’d hope as Harold. His performance is warm, understated, and deeply relatable. Harold is a man carrying a lot of unsaid sadness, and Addy plays that beautifully, making him someone that you’re constantly rooting for despite his flaws.
Jenna Russell as Maureen is equally as strong, and together they create a marriage that feels painfully real. Their relationship is complicated and stagnated, full of a complex history that unravels throughout the show, and the way they play off each other gives the show a real emotional anchor. For the most part they aren’t big, showy scene – they’re grounded, intimate, and all the more affecting for it.
Passenger’s music fits the story perfectly. This isn’t your traditional musical theatre score, full of big belts and flashy numbers – although don’t get me wrong, it certainly delivers in these areas too – but something more folk-inflected and reflective. The songs are genuinely lovely, with catchy hooks and lyrics that do a lot of emotional heavy lifting without ever feeling forced.
One of the show’s smartest choices is the Balladeer, a folksy narrator who helps guide us on Harold’s journey. Noah Mullens is excellent in the role, with a voice that feels completely at home in this world. The character works as a bridge between Passenger’s folk sound and your classic musical theatre storytelling, and in the second act the Balladeer’s role deepens in some really effective ways (no spoilers here!).
The ensemble are doing some seriously impressive work throughout, particularly through the use of body-propping in the first act. They create settings, props and move in a way that feels inventive and totally immersive. It’s rare to see ensemble work used this effectively, really bringing the show to life in a way that I haven’t seen done before.
What I loved most is how members of the ensemble step forward to tell their own stories. As Harold meets people along his journey, each encounter feels distinct and meaningful. The show is filled with people from all walks of life, all dealing with things that will feel uncomfortably familiar to many audience members. There really is something here for everyone, and it drives home that message of connection with our fellow humans. A standout moment here comes in Jenna Boyd’s performance of ‘Such is Life’ as the Farmer’s Wife, which is a masterclass in storytelling. Through a combination of lyricism, performance, choreography, and staging, the show manages to tell a full, rich story in a just a few minutes – and it lands beautifully.
Despite tackling some heavy themes, Harold Fry is also a surprisingly joyful show. It understands the importance of connection, and it’s really good at showcasing moments of hope, kindness, and shared humanity. Those lighter touches give the more emotional moments room to breathe.
The second act delivers a genuinely beautiful conclusion, though I did find myself missing some of the levity from earlier in the show. I spent a lot of act two with a lump in my throat, and a brief emotional breather would have been welcome. That said, the emotional payoff is strong, and the story lands with real care.
The Unlikely Pilgrimage of Harold Fry is heartfelt, thoughtful, and truly affecting. This is a show that reminds you why stories, and people, matter – and why sometimes, just choosing to believe and keep going can be enough.
This show runs until 18 April 2026 at the Theatre Royal Haymarket, London. Tickets and listing can be found here.